Review: Coppélia, Playhouse Theatre

There was so much Russian being spoken around me in the 1970’s foyer of the Playhouse Theatre, it felt like I could have been back in The Bolshoi in Moscow. There were a lot of excited parents in attendance, and the Playhouse was pretty much full.

Bristol Russian Ballet School‘s version of Coppélia was appealing from the beginning. Principal dancer Harriet Masterman, only 15, opened the show with a masterful solo as Swanilda. Harriet shined throughout the three act performance, and is a remarkable star in the making.

The set, a beautifully painted bespoke medieval street, provided a bit of context to the love story that unfolded before us.

Franz, danced by the prolific principal dancer 18 year old Ivan Avdijevski, is textbook confused.  He loves his fiancé Swanilda, but is inexplicably drawn to the doll Coppélia. Ivan portrays obsession and youth with strength and tenacity, and is a marvellous young dancer.

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For me, the other standout dancers were the six young men from the youth company.  To see teen boys so skilled and having so much fun on stage was very refreshing.  They must have been accompanied by up to 30 female performers on stage at points, but were not fazed by the busy frills and tutus.

For what is essentially a youth company performance, I am blown away by the scale of the production.  The majority of the dancers range from age 4 to 18 at a guess, and yes, the chorus often lacks the clean lines and precision of a professional equivalent, but that’s not what we’re here for. We’re here for tradition and a celebration of youth talent. There’s so much hard work in this production that I feel instantly sad that it’s only showing for one night. It is testament to Chika Temma and Yury Demakov, Principals of Bristol Russian Ballet School.

It’s honestly been a while since I’ve seen something so traditional, from costume to score to choreography.  After I get used to the style again, it’s a treat. Coppélia is a jewelry box of en point skill and dreamy costumes, with a handful of lovely comic moments.

The signature puppet-like syncopation of this ballet is spot on, but ballet lends itself well to this technique, and the original choreographer Saint-Léon knew this. One of my favourite parts is when Coppélia dances her marionette with ten mini-dolls, all of whom are head to toe pink and can be no older than 6 years old. Another highlight, in total contrast, is when Swanilda is dancing to prove to Franz that she’s his fiancé and not the doll she disguised herself as, which is a vivacious and lively performance.

For a Sunday, in the middle of term, or at the start of their careers, I applaud these young dancers.

Coppélia was at The Playhouse Theatre in Weston-Super-Mare on Sunday, February 2 2020. For more information visit www.bristolrussianballetschool.com

Photo credit: Derwood Pamphilon

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